"A lot of people don’t take metal seriously as art, and a lot of people don’t take art seriously as ethics. That’s fine, I guess — but as for myself, I do both. These days, when people detect ambition in someone they leap on that person like hyenas. The label 'pretentious' is unquestioned as categorically damning. But I think musical culture could use a whole lot more pretension, if anything. It suffers from false, dishonest humility, and from a lack of ambition to be more than either entertainment or a badge of identification with a group."
-- Liturgy’s Hunter Hunt-Hendrix via Stereogum, in a response to an open letter from Woe's Chris Grigg for Metal Review, which is itself a response to Hunt-Hendrix's recent "Transcendental Black Metal" essay. Grigg accuses the frontman-philosopher of taking himself-- and his sense of his music's importance in the evolution of American black metal--a little too seriously. Hunt-Hendrix owns it.
Grab Liturgy's Aesthethica LP from Thrill Jockey
Hunter Hunt-Hendrix from Liturgy says:
I decided to cull from different areas of experimental and extreme metal as well as classical and avant-garde composition. All the music I included is very serious-- not messing around-- and touching upon something true and important. The first track was supposed to be the first movement of György Ligeti's Violin Concerto, but we had to take it down for copyright reasons. Too bad, it's an amazing piece, that juxtaposes regular tempo with weird accelerations and fractal patterns, and equal-tempered tuning with just intonation. There are these amazing ocarinas in the piece. I replaced it with the first two movements of Schnittke's String Quartet No.2, which is also rad.
Next is a track by Portal. Amazing, microtonal death metal. I'd say they are the undisputed kings of experimental metal. What is especially great about them is the way they construct repeatable and repeated riffs, though the riffs are these sliding trajectories with no distinct notes.
Giacinto Scelsi is in my opinion the grandfather of spectral music. I mostly like his small-scale works for string quartet or solo instruments, which are always droning microntonally. But this one is large scale and has a chorus, and is so fucking primordial and powerful. I think the title is the word "peace" in three languages. Somehow reminds me of the Skeksis in The Dark Crystal.
Vlad Tepes is my favorite black metal band, though this is not their best song. Raw and chaotic and occult. Child Abuse are from Brooklyn. Their new record [Cut & Run, on Lovepump United Records] is so amazing; it is way underappreciated. I think of it as taking Meshuggah in the direction of noise, though I don't think they see it that way. Havohej is the guy from Profanatica, and this song has such a sick riff. He also did an album called Man and Djinn, which is all just drums and noise, but it is compositionally totally vacuous-- false experimentation in my view.
Stockhausen. Just as I was beginning to compose Aesthethica, I discovered Stockhausen's opera cycle, LICHT. Not that there's any connection between our music and his, but it's the most ambitious and mesmerizing piece of musical theater I have ever encountered. It's seven operas for the seven days of the week. I've hardly digested a 10th of it-- mostly just the preludes to the various operas. This is the prelude to Dienstag: beautiful vocal stuff. In Mittwoch, there's a scene where each member of a string quartet flies up in the air above the theater in a separate helicopter, and they sort of play along with the propellers.
Pharaoh Overloard are covering really unique territory. They do this cross between like psychedelic rock and NWOBHM or thrash; it's really unusual, though maybe not the most amazing thing in the world. Drudkh are a staple of the world of epic underground black metal. Melancholic, occult, Ukranian, patheistic black metal, very solid.
MP3: Liturgy: "Altered Zones Mix"
Full tracklist after the jump. Grab Liturgy's Aesthethica from Thrill Jockey, and purchase tickets here for their record release show in Brooklyn
Loving this new video from Brooklyn experimental black metal four-piece Liturgy -- crosses, triangles, and all. Zev Deans' strobing, split-screen montages of stained glass and grim reaper hoods feel completely at one with Liturgy's earsplitting scream-scapes, which strike a dizzying balance between minimalism and sensory overload, elation and rock-bottom despair. This video should probably come with an epilepsy disclaimer, just as Aesthetica, Liturgy's new LP on Thrill Jockey, could easily be flagged for moments of extreme violence-- of the psycho-spiritual kind. --Emilie Friedlander, Altered Zones
AESTHETHICA is out May 10th on CD and 2xLP formats via Thrill Jockey. Pre-order it here
An onslaught of burst beats, pagan riffs, and searing guitars pummel headlong towards the void, rejoicing in every fall, worshipping every grimace, venerating every slip of the bloody hands as they try to grip icy crevices lining their endless ascent up the holy mountain. "Immortal Life" is a hymn to the infinite ubiquitously sung through the sharp teeth of the finite world. In the words of Hunter Hendrix (Liturgy’s primary architect), “I think there are two ways to [glorify the infinite]. One is to float around in it in a blissful stasis, and another is to take it as a horizon and eternally approach it via finite steps, as a more dynamic sort of thing, ‘not this, or that, or this, or that, or this or that’, always towards it.” That horizon is no nearer than your death and no further than this moment. Your vision is rendered obsolete by its blinding white light. (via 20 Jazz Funk Greats)
Immortal Life is available now via Infinite Limbs, sit tight for Aesthethica due May 10th on Thrill Jockey

